The fundamental idea the exhibition stems from is that photography transformed the entire world into a readymade, an image-bank. Since then, the world became fully photographed, mapped, signified and codified. Therefore, we are always, already, inside circulation, constantly moving between networks.

Under these circumstances, the category of the photographic can no longer be defined on the basis of a quintessential difference – technical, material, historical, or disciplinary – but should primarily address the circulation of sights, objects, bodies and spaces through ever-changing configurations of basic data units.

As an endless stock of codes the photographic world is rendered opaque, obscure, incomprehensible, and unsubstantial. Opacity shifts the attention from the represented content to the photographic environment, and from there, to the ungraspable distance between them. Defining the photographic as opaque does not mean photography loses its indexical aspect. It means that the real world ceases to function as an immediate reference, leaving the stage to the process, the apparatus, or the technological transformation, to serve as index. It means that rather than a link to the outside world, photographic representation induces perceptual disorientation, uncertainty and ambiguity. It means that the distinction between the actual and the virtual, the material and the imaginary, the physical and the mental, the concrete and the abstract, is unverifiable, and will remain so from now on.